The exhibit, which will open on April 6th, will feature 63 artists and collectives and is curated by co-organizers, Adrienne Edwards and David Breslin. “Our hope is that this show permits a taking stock, a way of seeing what we’re maybe not at the end of, but in the middle of, and how art can help make sense of our times.” The exhibit is entitled “Quiet as It’s Kept” and will lean towards conceptual works, with particular attention to Native artists and the U.S.-Mexico border. Excited to see which works of Theresa Hak Kyung Cha will be featured.
news
overlooked no more
NYT has an interesting Overlooked Obituary series wherein they try to correct the omissions of history and news reporting by running in present time the obituaries of notable figures missing from their past pages. We shared elements of the film with the obit author, Dan Saltzstein, so he would get a good sense of Cha as an artist for the article.
It was interesting to experience this flurry of attention as the obit landed and then then dissipate, and the attention quickly turned elsewhere. Here and gone within a twenty-four hour news cycle, or even sooner. For a brief moment, the article landed in NYT’s digital front page.
Our editor accidentally discovered the print copy of the article while gathering scraps of paper in her pottery studio. I am embarrassed to confessed that I haven’t yet read the obit. It took me over a year to read Cathy Hong Park’s Minor Feelings, despite several people prodding me to do so and the seemingly constant google alerts about the book.
In this digital age, I think I will enjoy reading the paper copy of the obituary, feeling the materiality of the paper between my fingers and reading the article with my full attention taking it all in.
cha project website relaunched
We’ve relaunched our Cha project website after many years of being off-line. We hope to continue to build out the website and its related platforms. Interestingly, our last website background was this documentation photo from Cha’s performance piece, Awakened in the Mist, at Fort Mason, San Francisco. And now it’s just white, both very much connected to Cha’s art and process.
